Blog

  • Halloween – Weekly Photography Challenge

    It’s coming up to Halloween and it’s a tradition that is being observed more and more in the Southern Hemisphere, so we thought no matter where you are, you might be up to the challenge. And if there’s no Halloween where you are, just take a spooky photo and see if you can scare us silly!

    Tips for Shooting at Night

    If you’re heading out to snap some ‘trick or treaters’ check out these tips on night time street photography:

    In the Dark: 10 Tips for Street Night Photography

    Or this one for getting proper exposure at night:

    Tips for Getting Proper Exposure for Night Photography

    Looking for some spooky techniques?

    Here are some techniques you can try to get a spooky feel in your images:

    Light Painting Part One – the Photography

     

    Stuck for inspiration?

    Here are some previous posts with plenty of ideas to motivate you for the challenge:

    Halloween Photography Tips

    26 Spooky Images for Halloween Week

    27 Sinister Images for the Week of Halloween

    Some Halloween Projects

    Can’t think of anything? Here’s a few project ideas:

    How to Light Creepy Halloween Masks for Added Drama

    Creating Ghostly Images for Halloween

    Weekly Photography Challenge – Halloween

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

    Share in the dPS Facebook Group

    You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

    If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSHALLOWEEN to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

     

    The post Halloween – Weekly Photography Challenge appeared first on Digital Photography School.


    Digital Photography School

  • Sigma releases interchangeable lens compatibility notes for Nikon Z7 and Canon EOS R

    Sigma has released compatibility notes for its interchangeable lenses when used with the Canon EOS R and Mount Adapter EF-EOS R, as well as updated compatibility information related to the Nikon Z7. The updates follow Sigma’s compatibility note for the Nikon Z7 released in late September, during which time the company said it would continue testing products and publishing future updates.

    According to the company, its interchangeable lenses for Canon mount “do not have any issues with general operation” when used with the Canon EOS R and EF-EOS R adapter. However, users will need to disable the in-camera Digital Lens Optimizer feature before using a Sigma interchangeable lens with the model.

    Sigma states:

    When the Digital Lens Optimizer is switched [OFF], but “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens. This is applicable to lenses listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later.

    In regards to its updated Nikon Z7 compatibility data, Sigma has released a list of 36 interchangeable lenses for Nikon mount that it tested and found compatible with the Nikon Z7 and Mount Adapter FTZ. When used together, “both AF and AE operate without any issue,” the company stated in its latest release.

    The full list of compatible lenses is available in the press release below:

    [Updated Information] Operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount

    Thank you for purchasing and using our products.

    We would like to share results of our further investigations regarding the operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount.

    When SIGMA’s interchangeable lenses in the current product lineup, listed below, are used in combination with the Nikon “Z7” and their “Mount Adapter FTZ”, both AF and AE operate without any issues.

    Furthermore, lenses which incorporate Optical Stabilizer (OS) will work to maximum effect when both the lens’s OS and the in-camera stabilization are switched on simultaneously.

    Applicable Products

    DG Lens

    • 12-24mm F4 DG HSM | Art
    • 14-24mm F2.8 DG HSM | Art
    • 24-70mm F2.8 DG OS HSM | Art
    • 24-105mm F4 DG OS HSM | Art
    • 60-600mm F4.5-6.3 DG OS HSM | Sports
    • APO 70-200mm F2.8 EX DG OS HSM
    • APO 70-300mm F4-5.6 DG MACRO
    • 70-300mm F4-5.6 DG MACRO
    • 100-400mm F5-6.3 DG OS HSM | Contemporary
    • 120-300mm F2.8 DG OS HSM | Sports
    • 150-600mm F5-6.3 DG OS HSM | Contemporary
    • 150-600mm F5-6.3 DG OS HSM | Sports
    • APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG
    • APO 300-800mm F5.6 EX DG HSM
    • 14mm F1.8 DG HSM | Art
    • 20mm F1.4 DG HSM | Art
    • 24mm F1.4 DG HSM | Art
    • 35mm F1.4 DG HSM | Art
    • 105mm F1.4 DG HSM | Art
    • 135mm F1.8 DG HSM | Art
    • 500mm F4 DG OS HSM | Sports
    • MACRO 105mm F2.8 EX DG OS HSM
    • APO MACRO 150mm F2.8 EX DG OS HSM
    • APO MACRO 180mm F2.8 EX DG OS HSM

    DC Lens

    • 8-16mm F4.5-5.6 DC HSM
    • 10-20mm F3.5 EX DC HSM
    • 17-50mm F2.8 EX DC OS HSM
    • 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary
    • 18-35mm F1.8 DC HSM | Art
    • 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 18-250mm F3.5-6.3 DC MACRO OS HSM
    • 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 50-100mm F1.8 DC HSM | Art
    • 4.5mm F2.8 EX DC CIRCULAR FISHEYE HSM
    • 10mm F2.8 EX DC FISHEYE HSM
    • 30mm F1.4 DC HSM | Art

    Phenomena particular to 4 lenses were confirmed after our announcement of September 28th

    After careful investigation, we confirmed some phenomena particular to 4 products listed below. Regarding a firmware update for the SIGMA 24-35mm F2 DG HSM | Art, 50mm F1.4 DG HSM | Art and 85mm F1.4 DG HSM | Art, we are going to announce them at a later date.

    24-35mm F2 DG HSM | Art

    [Phenomenon]- It may occasionally stop recording while shooting video. It is planned to be resolved by a firmware update.

    50mm F1.4 DG HSM | Art

    [Phenomenon] – When starting to shoot with the subject completely out of focus, the response to the AF operation is intermittent. It is necessary to release several times or to turn the focus ring once to release. It is planned to be resolved by a firmware update.

    85mm F1.4 DG HSM | Art

    [Phenomenon] – It may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting. It is planned to be resolved by a firmware update.

    APO 800mm F5.6 EX DG HSM

    [Phenomenon] – Please focus using MF, since it is difficult to achieve sufficient focusing accuracy. There is no plan for a firmware update.

    When the lenses listed below are used, due to product specifications, the in-camera stabilization cannot be turned off. In addition, the Auto Power Off function cannot be used. Please manually turn the power [OFF] after shooting.

    Applicable products

    Current lineup

    • 17-50mm F2.8 EX DC OS HSM
    • 17-70mm 2.8-4 DC MACRO OS HSM | Contemporary
    • 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 18-250mm F3.5-6.3 DC MACRO OS HSM
    • 24-105mm F4 DG OS HSM | Art

    Discontinued models

    • 17-70mm 2.8-4 DC MACRO OS HSM
    • 18-50mm F2.8-4.5 DC OS HSM
    • 18-250mm F3.5-6.3 DC OS HSM
    • 18-200mm F3.5-6.3 DC OS HSM
    • 50-200mm F4-5.6 DC OS HSM
    • 70-300mm F4-5.6 DG OS

    Other precautions

    • Please use manual focus while shooting with lenses which do not incorporate an AF driving motor.
    • Tele Converters cannot be used together.
    • Depending on shooting conditions, sufficient focusing speed and accuracy may not be achieved. As required, please use manual focus while shooting.
    • Despite being listed above, some lenses shipped out from SIGMA before November, 2013 may require a firmware update. (Please refer to “Various lenses shipped from SIGMA before November, 2013” below.)
    • Discontinued products have different operating conditions depending on each product and their shipping period. For details, please contact your nearest authorized SIGMA subsidiary / distributor.

    Various lenses shipped from SIGMA before November, 2013

    We have previously confirmed that some phenomena such as AF not working correctly with some lenses released or shipped from SIGMA before November, 2013, when they are used on Nikon’s digital SLR cameras incorporating the latest firmware. Under this circumstance, we will update the lens firmware free of charge. If the products do not operate on a Z7, even when they are listed above, the lens firmware update may improve the situation.

    For customers who have these applicable products, please contact your nearest authorized SIGMA subsidiary / distributor for further details.

    *1 For products of which firmware was updated after November, 2013, a firmware update is not necessary.
    *2 It is not possible to update the firmware of products for which our support period has finished.
    *3 For products with an engraved edition number of A012, C013 or S013, the lens firmware can be updated using the optional SIGMA USB DOCK.


    [CANON COMPATIBILITY NOTE]

    Thank you for purchasing and using our products.

    We would like to announce that, as of this moment SIGMA’s interchangeable lenses for Canon mount in the current lineup do not have any issues with general operation when they are used on the “EOS R”, released by Canon Inc., via their “Mount Adapter EF-EOS R”.

    In addition, please note the information below when using our lenses.

    1. With SIGMA’s interchangeable lenses, the Digital Lens Optimizer located within the in-camera Lens Aberration Correction function cannot be used. Therefore, please set the Digital Lens Optimizer to [OFF] before shooting.

    When the Digital Lens Optimizer is switched [OFF], but “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens. This is applicable to lenses listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later.

    Contemporary line

    • SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary *
    • SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
    • SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
    • SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary
    • SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary

    Art Line

    • SIGMA 18-35mm F1.8 DC HSM | Art
    • SIGMA 50-100mm F1.8 DC HSM | Art
    • SIGMA 12-24mm F4 DG HSM | Art
    • SIGMA 14-24mm F2.8 DG HSM | Art
    • SIGMA 24-35mm F2 DG HSM | Art *
    • SIGMA 24-70mm F2.8 DG OS HSM | Art
    • SIGMA 24-105mm F4 DG OS HSM | Art
    • SIGMA 14mm F1.8 DG HSM | Art
    • SIGMA 20mm F1.4 DG HSM | Art
    • SIGMA 24mm F1.4 DG HSM | Art
    • SIGMA 30mm F1.4 DC HSM | Art *
    • SIGMA 35mm F1.4 DG HSM | Art
    • SIGMA 50mm F1.4 DG HSM | Art
    • SIGMA 70mm F2.8 DG MACRO | Art
    • SIGMA 85mm F1.4 DG HSM | Art
    • SIGMA 105mm F1.4 DG HSM | Art
    • SIGMA 135mm F1.8 DG HSM | Art

    Sports Line

    • SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
    • SIGMA 120-300mm F2.8 DG OS HSM | Sports *
    • SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
    • SIGMA 500mm F4 DG OS HSM | Sports *

    * These lenses will be compatible with the in-camera Lens Aberration Correction function by a firmware update to Ver.2.0 which will be announced in the future.

    When lenses other than those listed above are used, “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function, may cause images to appear abnormal. Therefore please set these correction functions to [OFF] before shooting.

    2. When SIGMA’s DC lenses are used, “1.6x (Crop)” will not be set automatically. Please select “1.6x (Crop)” manually.

    We will continue verification and provide updates on the operating condition at a later date.

    Via: Sigma 1, 2

    Articles: Digital Photography Review (dpreview.com)

  • The essential pro feature that no mirrorless camera offers

    In a low-light situation with a split-second to focus and capture the moment, the flashgun’s AF illuminator was essential. Mirrorless cameras tend not to offer this feature and their AF systems aren’t so good in low light that they don’t need it.
    24mm F1.4 lens @ F2 | ISO 400
    Photo: Rishi Sanyal

    Mirrorless cameras have caught up with DSLRs in almost every measurable respect, yet there’s still one feature that’s essential for some professionals that every one of them lacks: flash AF illumination.

    The failure to offer an AF illuminator target means mirrorless can’t compete with the best DSLRs in some shooting situations

    Wedding and event photographers in particular will recognize the benefit of the AF assist target projected by flashguns and some flash commander units, yet no mirrorless camera maker implements this feature, even on their highest-end models. There are some technical reasons why they omit the feature, but this doesn’t negate the need for it.

    ‘IR’ illuminators on flashguns aren’t solely emitting infra-red: they also emit visible red light, or you wouldn’t be able to see their telltale grid pattern

    It won’t affect everybody’s day-to-day photography, but the universal failure to offer some sort of AF illuminator target for mirrorless cameras remains a major shortcoming and means mirrorless can’t compete with the best DSLRs in some shooting situations.

    There are technical justifications for why they don’t: DSLR autofocus sensors can be sensitive to infra-red light, whereas mirrorless cameras aren’t. Because mirrorless cameras focus using their main imaging sensor, any IR has to be filtered-out to avoid skewing the colors in your images. But the AF illuminators on flashguns aren’t solely emitting infra-red: they also emit lots of visible red light, otherwise you wouldn’t be able to see the telltale red grid they project.

    Note that the ‘IR’ illuminator in this instance is projecting a visible red target and, crucially, a target that provides a pattern for the camera’s AF system to bite onto.

    Another complication is that phase-detection pixels live behind the colored filters that allow most cameras to interpret color in the scene, so may not even see any red light. A PDAF element behind a blue filter won’t see any red light and one behind a green filter will only see a very small amount. But even this shouldn’t be insurmountable: Canon’s Dual Pixel AF means every pixel (including the red-sensitive ones) is a PDAF pixel and, if it came down to it, the manufacturers could offer versions of their flashguns that emit a color that their mirrorless AF systems can see.

    If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way

    Most mirrorless cameras have their own built-in AF illuminators but they’re not nearly as powerful as the off-board lamps on flashguns. Also, they tend to be bright, uniform orange or green lamps which are visually distracting, easily blocked by hands or large lenses and which miss one of the key properties of off-board illuminators: a grid pattern. This grid pattern effectively creates some hard-edges for the AF system to bite onto, even if you’re shooting something that may not have enough inherent contrast to easily focus on. You know, like a white wedding dress in low light.

    If mirrorless cameras are going to displace DSLRs for wedding and event photography, manufacturers need to find a way, even if it involves selling (or modifying) flash units that emit a faint green or blue grid pattern. Or doing what Godox does with its X1T command units: firing its red target, just as it would for DSLRs, because in many cases this is better than nothing.

    Articles: Digital Photography Review (dpreview.com)

  • Venus Optics announces Laowa 10-18mm F4.5-5.6 FE lens, RF & Z mount versions “coming soon”

    Venus Optics has announced the Laowa 10-18mm F4.5-5.6 FE zoom lens, a new ultra-wide-angle manual lens for full-frame Sony cameras.

    “In response to the demand from mirrorless camera shooters of having a compact wide angle zoom, Venus Optics [has] managed to compress the size of the 10-18mm FE Zoom to the smallest in its class,” reads the press release. The lens measures in at 3.5in/9cm long, 2.75in/70mm in diameter, and weighs only 17.5oz/496g.

    It’s constructed of 14 elements in 10 groups, including two aspherical elements and one extra-low dispersion element. The lens has a minimum focusing distance of 6in/15cm and a minimum aperture of F22 with a five-blade aperture diaphragm.

    The rear of the lens has a 37mm filter thread for adding filters to, as well as a 100mm magnetic filter holder system for the front of the lens. A built-in switch de-clicks the aperture on-demand if you’re planning on using the lens for video shooting.

    Venus Optics has shared a gallery of sample images captured with the lens on Flickr.

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4715342473″,”galleryId”:”4715342473″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    The lens is currently available for pre-order for $ 849. The first 50 pre-orders through Laowa’s site will receive a free 100mm magnetic filter holder system.

    Venus Optics says a Canon RF- and Nikon Z-mount version of the lens will be “coming soon.”

    Articles: Digital Photography Review (dpreview.com)

  • See this year’s Astronomy Photographer of the Year winners

    Insight Investment Astronomy Photographer of the Year 2018 winners

    The Royal Observatory Greenwich has announced the winners of its annual astronomy photo competition. American photographer Brad Goldpaint’s Transport the Soul, a dreamy photo of the Milky Way and Andromeda galaxy hanging over Moab, Utah, took the People and Space category’s top prize and was named Overall Winner. A total of 31 winning images were selected across 11 categories – take a look at them here and visit Royal Observatory Greenwich’s site to get yourself ready for next year’s competition.

    Transport the Soul © Brad Goldpaint (USA) – WINNER (PEOPLE AND SPACE) AND OVERALL WINNER
    Interested in adding a ‘human element’ to his photographs, once the quarter moon rose and revealed the incredible, vast landscape of the shale hills below the viewpoint, the lone photographer, to the left of the frame, stood motionless while he captured this photograph. The Andromeda Galaxy, quarter moon, Milky Way Galaxy, and position of the photographer all combined to create a captivating, harmonious portrait of a night sky photographer at work.
    Moab, Utah, USA, 20 May 2017
    Nikon D810 camera, 14-mm f/4.0 lens, ISO 2500, 20-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    PEOPLE AND SPACE: Living Space © Andrew Whyte (UK) – RUNNER-UP
    This is a single-frame image and not a speculative composite. Situated on a south-coast peninsula, this street falls within a part-night street lighting zone; when the lights go out, there’s nothing to interfere with the view of the stars until continental Europe- miles across the English Channel. The scene might be perceived incongruous or surreal and almost shows how accustomed we’ve become to the loss of night sky views due to light pollution. It was a conscious decision by the photographer to feature the unlit streetlamps, hinting how it might be possible to undo the damage and restore awe-inspiring views. Pagham, West Sussex, UK, 29 April 2017
    Sony ILCE-7S camera, 28-mm f/2 lens, ISO 6400, 15-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    PEOPLE AND SPACE: Me versus the Galaxy © Mark McNeill (UK) – HIGHLY COMMENDED
    This photograph was taken just after Christmas at the Sycamore Gap, Hadrian’s Wall in Northumberland and showcases the majestic winter Milky Way and the Andromeda galaxy. The temperature was about -4°C and the photographer arrived from Lancashire at 11am but had to wait till 2.30am for the Moon to set and for all the stars to be visible. Hadrian’s Wall, Northumberland, UK, 28 December 2017
    Nikon D810 camera, 20-mm f/1.4 lens, ISO 5000, 10-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    AURORAE: Speeding on the Aurora lane © Nicolas Lefaudeux (France) – WINNER
    A hazy, subtle auroral band is leisurely drifting across the sky providing an unusual perspective with faint bands appearing to radiate from a vanishing point, like a road disappearing over the horizon. As the aurora glided overhead, it made the photographer feel like he was driving a spaceship about to reach light speed toward the Big Dipper. This view lasted less than a minute.
    Sirkka, Finland, 30 March 2017
    Sony ILCE-7S2 camera, 20-mm f/1.4 lens, ISO 2000, 3.2-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    AURORAE: Castlerigg Stone Circle © Matthew James Turner (UK) – RUNNER-UP
    This was the photographer’s first ever encounter with the aurora borealis in the UK. The Moon was bright enough to illuminate the foreground arena of standing stones perfectly and the aurora surfaced from behind the majestic mountains, giving the appearance that the hills themselves were emitting the ethereal green glow.
    Keswick, Cumbria, UK, 7 November 2017
    Sony ILCE-7R camera, 22-mm f/4 lens, ISO 1000, 30-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    AURORAE: Aurorascape © Mikkel Beiter (Denmark) – HIGHLY COMMENDED
    The conditions to shoot an aurora that night were not ideal because of the bright Moon but the photographer managed to capture the breathtaking Aurora Borealis above the fjord in the gorgeous Lofoten archipelago, in Northern Norway. The small pool of water with rocks made the perfect foreground and a natural leading line into the frame.
    Haukland Beach, Lofoten, Norway, 26 February 2018
    Canon EOS 5DS R camera, 17-mm f/2.8 lens, ISO 2000, 8-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    GALAXIES: NGC 3521, Mysterious Galaxy © Steven Mohr (Australia) – WINNER
    The spiral galaxy NGC 3521 is located around 26 million light-years away in the constellation Leo and presents complex scene, with enormous amounts of surrounding dust and stray stars glowing far out from its disk. Emerging from the photographer’s colour data was a bright array of contrasting colour tones, generated by aging yellow-red stars, younger burning aggressively blue-white stars, and various nebulae throughout the disk. This image comprises approximately 20.5 hours of exposure time, collecting data in various filter types.
    Carrapooee, Victoria, Australia, 13 February 2018
    Planewave CDK 12.5 telescope, Astrodon Gen II LRGB, Baarder H? lens at 2541 mm f/8, Astro Physics 900 mount, SBIG STXL-11000 camera, Luminance: 33 x 1200 seconds [11hrs], H?: 12 x 1200 seconds [4hrs], Red-Green-Blue: 450 x 12–18 seconds

    Insight Investment Astronomy Photographer of the Year 2018 winners

    GALAXIES: From Mirach © Raul Villaverde Fraile (Spain) – RUNNER-UP
    This photograph is a mosaic of 24 images and depicts how the galaxies Messier 31 and Messier 33 appear symmetrically on either side of the star Mirach. Despite being the two galaxies closest to our own, they are still significantly further away from us than Mirach, which is a star within our own Milky Way. We can also see the two smaller satellite galaxies of M31, M32 and M110.
    Ocentejo, Castilla-La Mancha, Spain, 14 November 2017
    Takahashi FSQ 106ED telescope, Idas lps 2-inch lens, SkyWatcher Nq6pro mount, Canon 6D camera, 414-mm f/3.9 lens, ISO 1600, 24x30x400″ exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    GALAXIES: Fireworks Galaxy NGC 6939 – SN 2017 EAW © César Blanco (Spain) – HIGHLY COMMENDED
    This image showcases the open cluster of stars NGC 6939 and the galaxy NGC 6949 with the stellar explosion of the supernova SN 2017 EAW. The data gathering for this image was carried out over a few different days and the photographer tried to obtain sharp details as well as some of the ‘foggy’ background light. The image depicts the great variety of objects we can observe in the Universe, a stellar explosion with an enormous diversity of the colours of the stars which depends on the temperature, a magnificent galaxy that can be seen directly face-on; the show of the supernova, a fantastic phenomenon which is produced not very often in our skies; and a dim nebula of IFN type in the background. Escobar de Campos, Castile and León, Spain, 18 June 2017
    Takahashi FSQ 106ED telescope, Idas lps 2-inch lens, SkyWatcher Nq6pro mount, Canon 6D camera, 414-mm f/3.9 lens, ISO 1600, 24x30x400″ exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR MOON: Inverted Colours of the boundary between Mare Serenitatis and Mare Tranquilitatis © Jordi Delpeix Borrell (Spain) – WINNER
    Inverting the image is a legacy of deep sky imaging, where tenuous extensions of galaxies and nebulae can be more visible on a negative image because our eye more easily detects tenuous dark details on a white background. This is also useful in Moon imaging helping to reveal otherwise barely detectable soil features such as ray systems. Low contrast areas like the lunar seas and ray systems, look much more interesting because low contrast details are revealed and according to the photographer this is a new way for Moon exploration that should be considered.
    L’ Ametlla del Vallès, Barcelona, Spain, 6 December 2017
    Celestron 14 telescope, Sky-Watcher NEQ6 Pro mount, ZWO ASI 224MC camera, 4,200-mm f/12 lens, multiple 20ms exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR MOON: Earth Shine © Peter Ward (Australia) – RUNNER-UP
    During a total solar eclipse the brightness of the solar corona hides details of the Moon to the human eye. But by layering multiple digital exposures in this image from 2 seconds to 1/2000th of a second, the photographer managed to reveal much more. The image showcases not just the brilliant solar corona, but the newest possible of new moons, seen here illuminated by sunlight reflecting off the Earth.
    Jackson Hole, Wyoming, USA, 21 August 2017
    Takahashi FSQ85 telescope, Losmandy Starlapse mount, Canon 5D Mark IV camera, 500-mm f/5 lens, 9 exposures ranging from ISO 100 to 900, 150 2-seconds through to 1/4000th second exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR MOON: From the Dark Side © László Francsics (Hungary) – HIGHLY COMMENDED
    The photographer had planned to capture a high resolution image of the morning crescent Moon for a long time. The waning crescent Moon only rises high above the horizon of the Carpathian basin in autumn, but in this period of the year the weather is usually cloudy and rainy. Fortunately, in October 2017, an anticyclone wiped the area clear, which allowed the photographer to take a good resolution picture capturing the special atmosphere of the thin crescent in a glitteringly bright sky.
    Budapest, Hungary, 10 October 2017
    Homemade 250-mm f/4 Carbon Newton telescope, f/11, 250/1000 mirror lens, Skywatcher EQ6 mount, ZWO ASI 174 MM camera, 6250 mm f/4 lens increased to f/11, multiple 1/200-second exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR SUN: Sun King, Little King, and God of War © Nicolas Lefaudeux (France) – WINNER
    In order to capture this mesmerising image, the photographer chose the area according to weather forecasts to make sure he would get a clear sky. The image shows the Sun corona in all its glory during the August total solar eclipse. It is flanked on left hand side by the blue star Regulus – the little King – and by the red planet Mars on the right. The many radial streamers of the solar Corona are a real crown for the Sun King and the corona can be traced almost to 30 solar radii distance. The total exposure duration of 100-seconds was recorded in more than 120 individual images and it is a setup consisting of both a fast f/1.4 lens, at full aperture to get as much signal as possible, and a large buffer camera at base ISO to avoid overexposure. The inner corona was recorded using a longer focal length setup.
    Unity, Oregon, USA, 21 August 2017
    AF-S NIKKOR 105-mm f/1.4E ED lens, Nikon D810 camera on an untracked tripod, 105 mm f/1.4 lens, ISO 64, multiple exposures of 0.3-second, 0.6-second and 1.3-second

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR SUN: Coloured Eruptive Prominence © Stuart Green (UK) – RUNNER-UP
    In this image the photographer managed to capture an eruptive prominence just hours after this active region produced a massive X9.0 class solar flare. Close to the solar limb and presented here in an inverted format (black to white) and colour enhanced to create a warm sunny glow, the photograph showcases the beautiful 3D structure within the hydrogen chromosphere. Captured in hydrogen alpha light at 656.3nm, the photographer used a 150mm solar telescope and monochrome machine vision camera to record a video sequence which was stacked to bring out the fine details and image processing techniques to produce colour and a backlit effect in order to enhance the spicule features around the solar limb.
    Preston, Lancashire, UK, 9 September 2017
    Home-built telescope based on iStar Optical 150mm f/10 lens, double stacked hydrogen-alpha filter at 5250 mm, Sky-Watcher EQ6 Pro mount, Basler acA1920-155um camera, 150-mm f/35 lens, multiple 0.006-second exposures as an AVI

    Insight Investment Astronomy Photographer of the Year 2018 winners

    OUR SUN: AR2673 © Haiyang Zong (China) – HIGHLY COMMENDED
    AR2673 is a large sunspot group which formed in 2017. Clearly visible is the beautiful “rice grain” structure of the paler, outer regions of the sunspots.
    Tongzhou, Beijing, China, 5 September 2017
    Sky-Watcher DOB10 GOTO telescope, Optolong R Filter, QHY5III290M camera, 3,600-mm f/4.7 lens, ISO 160, 0.7ms exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    PLANETS, COMETS AND ASTEROIDS: The Grace of Venus © Martin Lewis (UK) – WINNER
    Shortly before sunset, a slender and graceful Venus hangs low in the western sky, just 10 days before meeting the Sun at inferior conjunction. This is an infra-red image of that view, taken using a monochrome digital video camera mounted on a reflector telescope. The recording was processed to remove the blurring effects of our atmosphere and combine the video frames to create a single still image of the planet. The infra-red filter used on the camera helps steady the effects of atmospheric movement.
    St Albans, Hertfordshire, UK, 15 March 2017
    Home-built 444-mm Dobsonian reflecting telescope, Astronomik 807nm IR filter, Home-built Equatorial tracking platform, ZWO ASI174MM camera, 12.4-m f/28 lens, 6msec frame time, 5.3sec total exposure duration

    Insight Investment Astronomy Photographer of the Year 2018 winners

    PLANETS, COMETS AND ASTEROIDS: Parade of the Planets © Martin Lewis (UK) – RUNNER-UP
    During the course of just one year the photographer managed to image surface details on every planet in our Solar System from his own back garden. At the start of the year, the photographer had captured distant Mars, eight months after opposition, sporting a tiny polar cap and dark features. Later on, he captured Venus, then Jupiter and Saturn. In September, the photographer had imaged details on the rocky face of Mercury for the first time and in November he recorded Uranus’s distinct polar region, making the set complete. The more challenging planets, Mercury, Uranus and Neptune, required IR (infrared) imaging to bring out surface details and have been colourised to match their more normal visual appearance. All images are displayed at the same relative size that they would appear through a telescope.
    St Albans, Hertfordshire, UK, 1 November 2017
    Home-built 444-mm Dobsonian Newtonian reflector telescope (Mercury used 222-mm Dobsonian), various IR filters for Uranus, Neptune, Mercury, Saturn (L). UV filter for Venus, home-built Equatorial Platform, ZWO ASI174MC/ASI174MM/ ASI290MM camera, various focal lengths f/12 to f/36, various exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    PLANETS, COMETS AND ASTEROIDS: Comet C/2016 R2 Panstarrs the blue carbon monoxide comet © Gerald Rhemann (Austria) – HIGHLY COMMENDED
    Still relatively far from the Sun, the comet’s well-developed ion tail shines bright in the night sky. Emission from unusually abundant ionized carbon monoxide (CO+) molecules fluorescing in the increasing sunlight is largely responsible for the beautiful blue tint. This is a median stack of the total event from 5p.m. until 11.12p.m and the comet’s magnitude was approx. 12.5 mag.
    Eichgraben, Lower Austria, Austria, 19 January 2018
    ASA 12-inch (300 mm) Astrograph telescope at f/3.62, ASA DDM 85 telescope mount, ASI ZWO 1600 MC colour CCD camera, exposure: RGB composite, 4.6-hours total exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    SKYSCAPES: Circumpolar © Ferenc Szémár (Hungary) – WINNER
    The cold winter weather weaves a transparent blanket above the human settlements. If one rises above this coherent surface of mist, the colourful star trails can be brought together with the glowing lights of the cities. This extremely long capture sequence took half of the winter’s nights facing the clear northern sky as the circumpolar star Almach, also known as Gamma Andromedae, just touched the horizon.
    Gatyatet?, Hungary, 17 February 2018
    Minolta 80–200 f/2.8 telescope, tripod, Sony SLT-A99V camera, 135-mm f/2.8 lens, ISO 640, 50 x 300-second exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    SKYSCAPES: Eclipsed Moon Trail © Chuanjin Su (China) – RUNNER-UP
    On 31 January 2018, a spectacular total lunar eclipse occurred. The photographer set his camera for a four-hour stack exposure and after he took about one thousand images, he finally captured an image that reflects the changes of the Moon’s colour and brightness before, during and after the eclipse. The picture reminded the photographer of the Compliant Golden-Hooped Rod, which is the weapon of the Monkey King, who is described in ancient Chinese literature.
    Zhangjiakou, Hebei Province, China, 31 January 2018
    Sony ILCE-7RM2 camera, 17-mm f/4 lens, ISO 100, 950 x 15-seconds

    Insight Investment Astronomy Photographer of the Year 2018 winners

    SKYSCAPES: Midnight Glow over Limfjord © Ruslan Merzlyakov (Latvia) – HIGHLY COMMENDED
    The dark summer sky in Denmark and the ideal weather on 22 May 2017 allowed the photographer to capture this magnificent orange glow over Limfjord, a beautiful place just five minutes away from where the photographer had lived for six years. The weather was so calm and quiet, which made the photographer think that time was standing still. Nykøbing Mors, Denmark, 22 May 2017
    Canon EOS 6D camera, 14-mm f/2.8 lens, ISO 400, 10-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    STARS AND NEBULAE: Corona Australis Dust Complex © Mario Cogo (Italy) – WINNER
    Under the dark Namibian sky, the photographer set his camera to a six-hour exposure in order to capture the CrA Molecular Complex, a large, dark and irregular area in the northern part of Corona Australis where we can see reflection nebulas NGC 6726-27-29, dark dust cloud Bernes 157, globular cluster NGC 6723 and other objects. Interestingly, there is a huge difference in distance: under 500 light years for the dust complex and 30,000 light years for the globular cluster.
    Tivoli Southern Sky Guest Farm, Namibia, 18 August 2017
    Takahashi FSQ 106 ED telescope, Astro-Physics 1200 GTO mount, Canon EOS 6D Cooling CDS Mod camera, 530-mm f/5 lens, ISO 1600, total 6-hours exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    STARS AND NEBULAE: Rigel and the Witch Head Nebula © Mario Cogo (Italy) – RUNNER-UP
    The dark Namibian sky was the perfect location to capture the wonder of the Witch Head Nebula and Rigel. The Witch Head Nebula is a very faint molecular gas cloud which is illuminated by supergiant star Rigel, the seventh brightest star of the sky and the brightest star in the constellation of Orion.
    Tivoli Southern Sky Guest Farm, Namibia, 20 August 2017
    Takahashi FSQ 106 ED telescope, Astro-Physics 1200 GTO mount, Canon EOS 6D Cooling CDS Mod camera, 383-mm f/3.6 lens, ISO 1600, 1, 3 and 6 min, total 5 Hours exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    STARS AND NEBULAE: Thackeray’s Globules in Narrowband Colour © Rolf Wahl Olsen (Denmark) – HIGHLY COMMENDED
    Almost 5,900 light years away, toward the southern constellation Centaurus, lies a large beautiful nebula known as the Lambda Centauri Nebula. The intense light from stars in a young open cluster cause the surrounding gas to glow with a magenta hue from emission lines of ionised Hydrogen atoms. In the centre of the image, is a group of Bok globules, which are dark, dense collapsing patches of gas and dust where new stars are frequently born. These were discovered by South African astronomer, A. David Thackeray, in 1950 and are now known as Thackeray’s Globules and are a favourite target for backyard astrophotographers. The largest globule is two separate clouds that overlap slightly. While they appear small in the context of the grand nebula, these overlapping globules are each 1.4 light years across and together they contain more than 15 times the mass of our Sun.
    Auckland, New Zealand, 13 May 2017
    Homebuilt 12.5-inch f/4 Serrurier Truss Newtonian telescope, Losmandy G-11 mount, QSI 683wsg-8 camera, 1,450-mm 12.5” f/4 lens, 14 hours and 40 minute exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: Great Autumn Morning © Fabian Dalpiaz (Italy – aged 15) – WINNER
    On an early Monday morning before taking an exam at school, the photographer decided to go out and take some images. Shooting on a 50mm lens the photographer got lucky and captured this incredible photograph of a meteor passing over the Dolomites. On the left side of the image the Moon is shining over the stunning landscape of the Alpe di Siusi with the autumn colours on the was illuminated only at 13.5 per cent.
    Alpe di Siusi, Dolomites, South Tyrol, Italy, 16 October 2017
    Canon EOS 5D Mark III camera, 50-mm panorama f/2.0 lens, ISO 6400, 8-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: The Eta Carinae Nebula © Logan Nicholson (Australia – aged 13) – RUNNER-UP
    The Eta Carina Nebula, or NGC 3372, is the biggest and brightest nebula in the sky and is located in the constellation Carina. It is mostly made out of hydrogen, created when the bright orange star mid-left went nova, spewing out large amounts of hydrogen gas which now emits light at the Hydrogen-alpha wavelength. The photographer took and stacked multiple shots and processed them in Pixinsight.
    Heathcote, Victoria, Australia, 16 December 2017
    Takahashi MT-160 telescope, f/4.8 reducer for MT-160, Celestron CGEM mount, Canon EOS 700D camera, 776-mm f/4.8 lens, ISO 800, 12 x 5 minute exposures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: Inverted Sun © Thea Hutchinson (UK – aged 11) – HIGHLY COMMENDED
    This was the photographer’s first attempt at solar imaging and was from the observatory in her back garden in Wimbledon. She used her father’s solar scope and after following her father’s advice, the photographer beautifully captured our nearest star, the Sun. The picture is a mosaic of two stacked images that were merged in Photoshop CC, cropped and inverted. The final image was then converted to false colour.
    London, UK, 24 September 2017
    Lunt LS60 telescope, Celestron CGE Pro mount, ZWO ASI174MM camera, 1250 (500-mm with x2.5 Powermate) f/21 (f/8.3 x 2.5) lens, 2000 frames best 20% retained

    Insight Investment Astronomy Photographer of the Year 2018 winners

    YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: First Impressions © Casper Kentish (UK – aged 8) – HIGHLY COMMENDED
    After a few days of cloudy skies the photographer finally got the chance to use his birthday present, a new telescope. The clouds were moving fast so there was not much time to capture the Moon. With the help of his grandfather who kept moving the telescope and trying to keep an iPad at the right position, he managed to capture this wonderful and artistic image of his first viewing of our Moon.
    Ponthirwaun, Ceredigion, UK, 23 January 2018
    SkyWatcher Skyliner 200 p, SkyWatcher 25mm wide angle, Dobsonian mount, Apple iPad 5th generation, 3.3-mm f/2.4 lens, ISO 250, 1/17-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    YOUNG ASTRONOMY PHOTOGRAPHER OF THE YEAR: A Valley on the Moon… © Davy van der Hoeven (Netherlands – aged 10) – HIGHLY COMMENDED
    The photographer’s father taught him how to focus the telescope, capture and process the data. Once the telescope was set up the photographer started taking images of the surface of the Moon and even managed to capture more details than his father did in the past. Hendrik-Ido-Ambacht, Netherlands, 25 February 2018
    Celestron C11 Schmidt Cassegrain telescope, Baader red filter, SkyWatcher NEQ6 mount, Imaging Resource DMK21 camera, 2,700-mm f/10 lens, 1/300-second exposure

    Insight Investment Astronomy Photographer of the Year 2018 winners

    SIR PATRICK MOORE PRIZE FOR BEST NEWCOMER: Galaxy Curtain Call Performance © Tianhong Li (China) – WINNER
    This was the last opportunity in 2017 to see the silver core of the Milky Way before it sunk below the horizon. It was accompanied by the gradual curtain call of Scorpio heralding the upward trend of Orion in the sky. Meanwhile the season of bright shooting stars quietly arrived. The image is stitched together from a total of twenty pictures.
    Ming’antu, China, 23 September 2017
    Nikon D810A camera, 35-mm f/2 lens; sky: ISO 1250, 16 x 60-second exposures, total 16 pictures; ground: ISO 640, 4 x 120-second exposures, total 4 pictures

    Insight Investment Astronomy Photographer of the Year 2018 winners

    ROBOTIC SCOPE: Two Comets with the Pleiades © Damian Peach (UK) – WINNER
    The image showcases a very rare conjunction of two bright comets both passing the famous Pleiades star cluster in Taurus at the same time. Comet C/2017 O1 (ASASSN) is at far left while C2015 ER61 (PanSTARRS) is in the centre. Both comets have strikingly different appearances. The whole region is embedded in the faint nebulosity of the Taurus Molecular Cloud. The photographer used a remote telescope located in Mayhill, New Mexico.
    Remote Astronomical Society (RAS) Observatory, Mayhill, New Mexico, USA, 19 September 2017
    Takahashi FSQ106 telescope at 106 mm, Paramount ME mount, SBIG STL-11000M camera, 530-mm f/5 lens, exposure: four LRGB frames, each frame 30 minutes each

    Articles: Digital Photography Review (dpreview.com)

  • iPhone XS / XS Max sample gallery updated

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7780769194″,”galleryId”:”7780769194″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    In the time since we posted our first look at the iPhone XS’ image quality, we’ve continued shooting with its larger sibling, the XS Max. The two devices use identical 12MP dual-camera systems, boasting better HDR and Portrait Mode effects thanks to processing and computational improvements. Take a look at some additional sample images from Apple’s latest flagship phone.

    Articles: Digital Photography Review (dpreview.com)

  • 1000-year long exposure due to reveal effects of climate change for exhibition in 3018

    The view from Eagle Rock – a digital pinhole image by Ryland West, showing the view from one of Keat’s camera sites

    A series of pinhole cameras have been positioned around Lake Tahoe to record in a single exposure the effects of climate change over the course of the next 1000 years. Conceptual artist Jonathon Keats has booked space at the nearby Sierra Nevada College to hold an exhibition of the results in the year 3018.

    The idea of the project is to show the long-term effects of climate change on the environment, by recording how the scenes the four cameras are pointed at alter over the course of a 1000-year exposure. Though technical details are scant regarding the size of the aperture, the basic premise of the cameras is a pinhole construction with a rose-colored pigment to record the image. The pinholes have been made in 24-karat gold sheets (though the reason isn’t clear why gold was used) and the pigment records the image by fading in areas where it is exposed to most light. As it is the areas that are exposed to light that fade the final image will be positive.

    According to an interview on the Vice’s Motherboard website Keats has ‘borrowed a technique from Renaissance painters who worked with copper. This involved rubbing the copper with pumice stone, then rubbing it with garlic and finally applying a layer of pigment. After studying different pigments, Keats chose rose madder, a red pigment that is derived from the root of a madder plant.’

    The tiny cameras have a copper body and measure 2.75in long by 2.25in in diameter, and have been placed in strategic positions to monitor the condition of the lake and its shoreline. Whether the cameras can remain still for 1000 years, and whether the exposure will be right in 3018, remains to be seen – but not by any of us. Keats himself says in the Motherboard interview “The [environmental] changes that happen may wipe out the camera or wipe out the institution that’s in charge of it. I just signed a contract with Sierra Nevada College that is for an exhibition of these four photographs in the year 3018. We’re certainly taking chances with this, but that’s also part of the picture in a way.”
    I’ll wait closer; to the time before buying a ticket for the opening night.

    Press release

    TAHOE TIMESCAPE VISUALIZE LAKE TAHOE IN 3018

    Experimental Philosopher Jonathon Keats Explores 1,000 Years of Environmental Change in the Lake Tahoe Basin

    TAHOE PUBLIC ART INSTALLATION | 2018 – 3018
    ART EXHIBITION | OCT 18 – NOV 16, 2018
    TAHOE GALLERY, SNC, Incline Village, NV

    Tahoe Timescape is a public art project conceptualized by experimental philosopher and artist Jonathon Keats that photographically documents the next thousand years of environmental change in the Lake Tahoe Basin. The project enlists a new approach to photography based on the traditional pinhole camera. Pierced through a plate of 24-karat gold, a minuscule pinhole focuses light onto a rose colored pigment, such that the color fades most where the light is brightest, very slowly imprinting a unique positive image. The Millennium Camera’s thousand-year-long photographic exposure, taken between 2018 – 3018, not only shows the view in front of the camera, but also records how it develops over time, revealing dynamics ranging from urban development to climate change.

    Digital Pinhole Photograph from Eagle Rock | Site Photography by Ryland West
    While one goal of Tahoe Timescape is to provide documentation of human and environmental dynamics for study by future generations, the Millennium Camera, custom made from copper for durability, is equally intended as a mechanism for people today to envision their long-term impact on the environment – and potentially to change the picture by altering their behavior.

    Tahoe Timescape features four Millennium Cameras that will be deployed around all four shores of Lake Tahoe, with fixed vantage points positioned to provide an expansive view of the Lake Tahoe Basin, presenting multiple opportunities for the public to engage in deep-time thinking as they explore the region. The copper brackets that secure each camera in their location, as well as informative plaques mounted next to the cameras, are fabricated locally by Mountain Forge. The four locations, pinpointed on a topographic map and identified by geographic coordinates, are as follows:

    • South Shore: Heavenly Mountain Resort, South Lake Tahoe, NV / CA
    • West Shore: Eagle Rock, Homewood, CA
    • North Shore: Lake Tahoe Dam, Tahoe City, CA
    • East Shore: Sand Harbor, NV

    Jonathon Keats and Tahoe Public Art’s Executive Director, Mia Hanak, conducted site surveys to identify the vantage points and Millennium Camera locations. Local landscape photographer Ryland West explored each site to shoot a set of landscape photographs paired with digital pinhole photographs focused on the actual vantage point from the Millennium Cameras to help us imagine the photographic composition that will be recorded by each between now and 3018.

    “Tahoe Public Art is truly excited to be presenting the conceptual art of Jonathon Keats to the Lake Tahoe Basin. With the ongoing stewardship of Sierra Nevada College, we hope this encourages tourists and residents alike to contemplate the future of the basin and how they can become active in its preservation.” – Steve Miller, Chairman, Tahoe Public Art.

    Further outreach will be facilitated by an exhibition about deep time photography at Sierra Nevada College’s Tahoe Gallery. Opening on October 18th and running through November 16 in 2018, the exhibition will feature four sets of landscape photographs, digital medium format pinhole photographs, and photo documentation of the cameras secured at each location. Samplings of pinhole cameras, and a topographic map showing the camera sites and geographic coordinates will also be showcased. On September 5th, Keats led a pinhole camera workshop for SNC students. The exhibition will also showcase original artwork by SNC students — including 2-D, 3-D, digital arts, and interdisciplinary art — encapsulating how they envision Lake Tahoe in one thousand years.

    Articles: Digital Photography Review (dpreview.com)

  • Xiaomi Mi MIX 3 launches with tele-camera and night mode

    Chinese manufacturer Xiaomi today announced its new flagship smartphone, the Mi MIX 3. The new device features a 6.4” AMOLED display with Full HD+ resolution and only minimal bezels. Unlike most current high-end phones, the Xiaomi doesn’t come with a display notch. Instead the rear of the phone slides upwards, revealing a front dual-cam setup with 24MP main module and a 2MP depth-sensing camera.

    Rear camera hardware specs have not changed compared to the Mi 8 and Mi Mix 2S which were both released earlier this year. The rear dual-camera comes with a 12MP wide-angle primary camera that uses a 1/2.55 Sony IMX363 sensor with 1.4µm pixel size, F1.8 aperture and OIS.

    The secondary 2x tele-camera comes with smaller 1.0µm pixels and an F/2.4 aperture lens. Software-wise the Mi MIX 3 offers a new Night Mode for hand-held long-exposure shots and AI-powered scene recognition.

    Other specs are in line with the current crop of top-end Android phones. The device is powered by a Qualcomm Snapdragon 845 chipset and 6, 8 or 10GB of RAM. You can choose between 128GB or 256GB of internal storage but there are no expansion slot headphone jack.

    Pricing starts at $ 475 (CNY3,299) for the 6/128GB version and goes up to $ 720 (CNY4,999) for the 10/256GB model. Preorder is starting today and the device will actually be available November 1.

    Articles: Digital Photography Review (dpreview.com)

  • DxO PhotoLab 2 arrives with new haze removal tool and PhotoLibrary

    DxO has released PhotoLab 2, an update to its PhotoLab image processing software. The updated version brings new features and improvements, including ClearView Plus, a new version of its haze removal and local contrast tool, as well as a new data and image management feature called DxO PhotoLibrary, and support for DCP color profiles.

    DxO presents its new ClearView Plus as a “revolutionary tool” that can strip haze from an image while enhancing local contrast. According to the company, this improved version of the tool enables the user to create “dramatic adjustments” without producing unwanted halos.

    PhotoLibrary, meanwhile, offers a variety of features, including the ability to search for, select, sort, and display images. The feature offers dynamic search, which presents the user with suggests as they type the search query. Users can search for content based on various criteria, including name, extension type, and shooting parameters.

    DxO is now offering PhotoLab 2 for both Mac and PC through its online shop. The software is offered at introductory prices until November 18, after which point the regular rate is applied. PhotoLab 2 Essential is $ 99.99 USD and will be $ 129 USD after the introductory pricing ends; PhotoLab 2 Elite is $ 149.99 USD currently and will be $ 199 USD after the promotion ends.

    Articles: Digital Photography Review (dpreview.com)

  • Side-by-side Comparisons of Basic Studio Light Modifiers

    Side-by-side Comparisons of Basic Studio Light Modifiers 1

    Have you ever wondered what difference studio light modifiers make to your portraits?

    Are you even convinced that they make a difference in the quality of light? I thought I’d do a little experiment to show you the effects that a few basic studio light modifiers can have on your portraits.

    For some, the right modifier may make an image great, and the wrong modifier could break it.

    Technical terms

    Firstly, if you are new to artificial lighting, let’s look at some technical terms.

    Flash – an electronic artificial light source which gives out a brief, sudden burst of light. A flash is also known as a strobe in North America.

    Reflector – a panel that bounces light back towards the source and comes in silver, gold, black, white, fabric or other material.

    Light modifier – an object attached to the front of the flash to change the quality and effect of light entering the camera.

    Shoot – through Umbrella – an umbrella made of translucent fabric that allows light to pass through it.

    Diffusion – a material that scatters light evenly as it passes through, thereby making the light softer and with less glare and harshness.

    Softbox – a closed chamber usually lined in white or silver fabric, available in various shapes (such as a square, rectangle, umbrella, octagon). A softbox confines the light from the flash and releases it through a diffusion material, thereby allowing more control as to the size and spread of light that reaches your subject.

    Grid – usually made from fabric strips of material that are sewn together to form a 3D grid that is attached to the light modifier. A grid restricts the focus of light, making it more directional, allowing the photographer more control. It also limits or restricts the spill of light onto other areas.

    The studio light modifiers used in this article

    Let’s start with the lighting diagram as shown below. My set-up consisted of 2 lights and the following:

    Side-by-side Comparisons of Basic Studio Light Modifiers 2

    • a dark wall
    • a large silver panel reflector on camera left
    • a flash high up on the camera left to give a bit of hair light – I wasn’t after a vast separation from the background as I was using a light colored sofa that separates the background and the subject already. I also wanted a rather dark, moody lighting, so I covered the flash with a few layers of diffuser fabric. Doing this cut light out and limited it to the subject rather than hitting the wall
    • a flash on camera right onto which I attached various modifiers
    • studio light modifiers: flash hood, translucent umbrella, umbrella softbox, 90 x 60 softbox, diffuser fabric, grid

    You can also shoot with one light, of course, see here for a beginner’s tutorial on how to create dramatic portraits with one light.

    Side-by-side Comparisons of Basic Studio Light Modifiers 3

    Left: #1 Shoot-through umbrella facing away. Right: #2 Shoot-through umbrella facing toward.

    #1 Shoot-through umbrella facing away from subject

    For the above-left image, I used an umbrella as a shoot through with the flash facing away from the subject. You can see there is still light hitting the subject’s face, but the shadows on the left side of the face and the neck are a lot more pronounced and harsh. The light was not able to reach the reflector to the left of the subject at all.

    #2 Shoot-through umbrella facing toward subject

    Compare this with the image on the right. I turned the flash and umbrella 180 degrees so that the flash was facing the subject and shot from behind the umbrella. The shadows are much softer, more light has reached the subject, and you can also see the light hitting the sofa on the far left which means the reflector was doing its job of bouncing some light back.

    Side-by-side Comparisons of Basic Studio Light Modifiers 4

    Left: #3 Bare flash with hood. Right: #4 Umbrella softbox

    #3 Bare flash with hood

    For the above-left image, I shot using just the electronic flash and the hood that comes with it. As it is rather small, it restricts the spread of light a little and focuses it more on the area you are lighting.

    The light spills only as the light leaves the hood. Shadows on the face here are still defined, and not as smooth as I’d like it, but it is much better than on #1, where the shadows are much darker and harsher.

    #4 Umbrella softbox

    In the above-right image, I used a deep umbrella softbox allowing me to face both the flash and umbrella away from my subject. The umbrella is silver-lined which bounces all the light back towards the subject through a diffuser fabric. The resulting light quality is softer and more evenly spread due to bouncing and diffusion.

    Compare this to image #2 that used only the shoot-through umbrella without the bounce. Notice how the light quality is gentler on the skin and more evenly spread, with softer shadows on the neck and under the nose.

    Side-by-side Comparisons of Basic Studio Light Modifiers 5

    Left: #5 Softbox Without the Diffusion Panel. Right: #6 Softbox with diffusion panel.

    #5 Softbox without the diffusion panel

    I switched to a 90 x 60 rectangular softbox for the images above. The one on the left is an example without the diffusion panel that covers the softbox. Shooting your subject without the diffusion panel is like shooting with a hood, as per example #3 (the hood also has a silver lining), only the softbox is larger.

    The light is flashed away from the subject onto the silver lining of the softbox and bounced from the silver lining towards the subject without having to go through a diffusion panel.

    #6 Softbox with diffusion panel

    Comparing both images above, do you notice the softer quality of the light on the subject’s face on the image with the diffusion ‘on’? It is a subtle difference, but I can see it. Look even closer and you see the light without the diffusion is cooler and slightly harsher. It comes directly from the silver lining of the softbox not having gone through any diffusion.

    This difference is noticeable on the sofa; the one on the left is a touch sharper and the one on the right darker and even. Compare the subject’s left eye (on camera right) – the shadow on the left image is stronger and deeper than the one on the right.

    Such is the modifying effect of even just one diffuser fabric!

    Side-by-side Comparisons of Basic Studio Light Modifiers 6

    Left: #7 Softbox with the grid. Right: #8 Gridded softbox with the power adjusted.

    #7 Softbox with grid

    I attached a grid to the light set-up above so that it’s a silver-lined softbox with a diffusion panel plus a grid attached on the front of the diffusion panel. This setup is called a gridded softbox.

    Notice just how much of the light has been cut out. Light gets focused on the face, and there are very few spills of light on the clothes, arms and outer areas of the space photographed.

    The resulting image is a lot darker, moodier, and warmer in tone. However, I feel this is too underexposed, and details on the dress get lost, when I wanted these to show. The green wall looked too black, and the dress seemed to blend too much into it.

    #8 Gridded softbox with power adjusted

    On the above-right image, I kept the gridded softbox on and adjusted the flash power to my liking in order bring back the details I wanted. This new flash setting illuminated the face more and brought highlights back onto the hair and eyes. It also allowed a touch of light on the background too.

    Finally, the end product I had in my mind used a textured background, so I added this texture to my dark green wall in Photoshop. For a step-by-step guide on how to add textures and creative overlays, see this post. In my opinion, the subtle texture adds more drama to the image and fits in better with the dark and moody lighting I was after.

    Side-by-side Comparisons of Basic Studio Light Modifiers 7

    Did you find this side-by-side comparison on light modifiers helpful? Please let me know and also share your studio lighting experiments in the comments below.

    The post Side-by-side Comparisons of Basic Studio Light Modifiers appeared first on Digital Photography School.


    Digital Photography School